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范钟鸣 FanZongMing首页资讯资讯详细


2014-12-02 16:01:05 来源:艺术家提供作者:千叶成夫


  Fan zhongming studied fine art in Shanghai and went to Tokyo after graduation. He's been active since then and left the arena as an artist for a while, 10 years ago he returned and re-embarked his art career in shanghai. Meanwhile he spent 3 years to commence producing something that gratified him. Much to those reason, he was not widely known in China as an artist: for him however, it is essentially an exhibition of “début” rather than a solo.


  To have another justification as I defined “debut” here is that he had skimming through world and found his experimental works stands for its own and almost unmatched, in terms of this uniqueness, it should even be called “a trial of the impossible”


  At a glance from his works, few but some smudges of crayon left on the surface, with no tangible object or texture manifesting properties of pastel and watercolor-paper, nor anything conceptual. Precisely, he had deliberately withdrawn distinct shape (including lines) to avoid delivering material properties or anything an indication of conceptualism: metamorphosis or purification of art. It is impossible for the West or contemporaries to implement similarly, certainly beyond comprehension even for his peers in China.


  So why is such attempt? Firstly, we need to think outside of the box: “what is the subject (entity)of it?” Secondly, there’re two threads guiding viewers to his works: “Deepness” of the pieces and texture of watercolor-paper.


  Let’s start from the second thread: a drawing could not hover in a space without clinging to a “supporter” and pigment (or things equivalent). I guess it was which weakens the material properties that Fan desired, perhaps. But why? You would found out later.

  Painting could not paint on air space,it must paint on some “supporeter”with some pigment


  Sketching paper is more appropriate than canvas or rice paper for a “supporter” since it’s more neutral. Pigment could be oil/ water based or gouache, but not ink nor pencil, due to strong materiality of ink which correlates Eastern tradition too well; Pencil would be interpreted as anything sketch-like but a painting, or exposed materiality if overused. So watercolor paper and oil pastel become a combination and break free from such constraint.

  但是,不,而且,这里的”纸纹”,这个最低限度的纸张物质特性竟成了他绘画的切入口.就是说,他并非要去画实体性的”什么”而要以”纸纹”为中心去展开他的”绘画”行为. 请你仔细观看他作品上的”纸纹”,他的绘画好像在尽可能地避免让这些”纹”在画面中突显,因为如果突显的话,那里会形成较强物质性,会损害他的作品. 他在一边利用纸张的纹路画画,一边又要抑制住这些纹路的物质性主张.应该说他就是这么画画的.由此看来他既没有画什么,也没有去夸示绘画颜料和载体的物质特性,这几乎与”不画”没什么差别.这明明在画却又不像在画的绘画作品,在某种意义上说是属于极为精神性的东西.

  But no, this minimal materiality of paper is nevertheless the starting point of his work. It means he is not composing anything substantial but to carry out behavior of “painting” from the “paper veins”. Please observe it close and carefully: the pigment refrains from merging above “texture” which otherwise ruins it by emphasizing the materiality. It is the texture that he’s working on meantime its physical performance has been restrained. Therefore he neither attempts to specify anything nor to exaggerate properties of the supporter or pigment, it makes few differences from “not to paint” and hardly be categorized as a painting, but in a way it’s highly spiritual.

  我现在来谈第一个线索, 刚才我不由自主地说出了”精神性”的结论,其实那个”精神性”是”感觉性”的,或说是与人的感觉相关的.你不妨站在他的画作前去感受一下画面里的”深度”感.因为从”画什么”的意味上来说,其实,范钟鸣在画的是某种”深度”.

  Now here’s the first thread, it is spiritual that I spontaneously concluded, by which I mean it is sensual, or something associated with one’s feeling(or sensation?. If you stand in front of his work, you could feel the “depth” of it, it is the “scope of extent” that makes his work significant.


  However, this “depth” is not by anyway relates to Perspective. This is most important. Had long lived in Japan, he’s very familiar with art history and philosophy in both Japan and the West. He’s aiming to reveal which none of the Westerners’ perspective drawers and Chinese traditions could have done or done sufficiently: a “sensual expanse”.

  在这仅是一个平面的画面上他要让空气流动起来,而且不仅向前后流动,还向左右方向流动,他要在这里营造出一种正在向四面八方流动的深度感. 更进一步说,虽说观者是通过眼睛(视觉器官)来看它们,但它们会给与观者一种超越视觉感受(幻象)的、贯通你整个身体的深度感觉.他所谓的深度可以说是一种空间、抑或是一个世界的广度.那不仅仅是绘画的空间,那是我们在平日生活的现实世界中能感受到的、可以呼吸到它空气流动的某种”广度”空间.他要去表现他们,要直接去表现它们,这已不是在画什么了,而是在”实现”什么了.为什么这么说呢?因为”它们”是无法被描绘出来的.在西洋绘画里或在更广义的绘画里虽不能说如此的尝试完全没有,但可以说那些曾有过的尝试都不曾直接去表现这个广度,而是通过描绘某种眼睛可见的、在这个广度里存在的实体物来间接地表现它们.

  He wants air flowing on this very bare surface, not only back and forth but also left to right. He wants to create magnitude as it flows from all directions. Furthermore, even viewers see it via retina (eyes), it indeed brings illusions which exceed physical visions (visual organs), a deep sense penetrating your bodies. This deepness could be deciphered as a perimeter in a space or a world: a place we can feel or breathe in daily life. If he wants to disclose it, he could not paint but to “actualize” it. Why? considering it’s indescribable. One could not say there’s never been any consonant undertake since Western art or a broader sense, but even there is, they’re depicting a visible entity to demonstrate the depth, rather goes directly into it.


  The reason why Fan’s work is unprecedented is that he intends to represent the “magnitude (span)” directly without portraying a thing. How to surpass existing art concept, is there any other way to articulate it besides those? It’s a challenging answer Fan offers: it’s a de facto if you want to paint something, only if you thoroughly abolishing to paint could that be merging a new one.

  如此的几乎什么有形的东西也不画的绘画可以说至今不曾有过.比如卡西米尔•马列维奇(Kasimier Malevich),他的什么实体物也不画的《白色正方形上的黑色正方形》,实际上也是在正方形的画布上涂(画)上白色,再在白色块上画上了黑色的正方形.再比如马克•罗斯科(Mark Rothko)的绘画作品,不管它们是单色的还是重色的,它们都是在画面上用颜色涂抹出来的或画出来的色彩空间.画家以此来传达他空间感觉.相比之下,范钟鸣采取的却是”不画而直接去实现”的方法.因为只要去画就一定会去画”什么”东西,这对他来说是不能算画出了或实现出了”什么”东西的.

  Such way is almost unparalleled throughout art history. Kasimier Malevich for instance, he draw no concrete object in “black square over white square”, but he painted white over squared canvas and black one over the white. Another example Mark Rothko, no matter monochrome or colored, he always conveys a sense of space on canvas by brushing using pigment. In contrast, Fan purposefully not to paint but to show it directly instead. It could not have been completed if it was drawn as “something”.


  “Do not paint but to implement” – Westerners or those mind alike would probably interpret it as “minimalism”, but he spend 3 months to complete some of his exhibition works. As a result, they are said to be done with full grade, Full to nothing tangible, it requires time, a long time to be completed. Something has been delivered yet apparently there is none to be perceived. It is the very force that called you immediately on your face with a “wideness” to be emerged.


  You could “seize the dimension” after standing before his works, it’s amazing, but only “after a while”: this very “time-lap” is thought to be more amazing. For other works, their depth and breadth could be felt instantly after being looked at, but these are different. How may I elaborate it further?


  Let me put it this way – the capacity in his work is increasingly provoked and slowly permeates through my body, in comparison to a visual sense, it was more of metaphysical: the work impacts on my soul before it does to my eyes. Not much visual comforts to speak of: eyes are not accustomed so it has been dragged into the mental level; they accept it by a compelling force of “mind”.


  It is difficult to elucidate: please do not get me wrong by affiliating “mind”, “knowledge”, or ”words” to which i mentioned, I would say they rather connects to “spirit”, it was not something “intellectual” in comparison to perceptual (visual) level. This could have been described more appropriately by saying it closes to “mental” than to the “intellectual” level.



  Anyway, while appreciating it my inner body and heart reacts strongly. At this time I had a question in my mind, what does Fan trying to seek out? Feeling(sensation ?)or spirit (heart)? Perhaps there’s a better alternative to say it, at opposite side of his actualized “depth”, there might be a source of things, a source of everything.





范钟鸣 FanZongMing